Released in 2013 and premiering at the Sundance Film Festival, Anne Fontaine’s Adore (adapted from Doris Lessing’s novella The Grandmothers ) is a film that defies easy categorization. It is a drama that plays like a romance, a morality tale that refuses to judge, and a sun-drenched fantasy anchored by the gravity of its cast. Netflix Proxyless Config Ensure Your Internet
It stands as a unique entry in the 2010s cinema landscape—a film that prioritizes atmosphere and mood over plot mechanics. It is a "top" example of how adult dramas can tackle controversial subjects with elegance. By refusing to apologize for its characters, Adore forces the audience to sit in the discomfort of the sun-drenched reality it has created, asking us to understand, if not condone, the lengths to which people will go to be adored. Gettingoveritwithbennettfoddymacosxhi2u Exclusive Apr 2026
They navigate the material without a hint of irony or camp. They portray women who are aware of the social transgression but are ultimately powerless against their own desires and the momentum of the situation. Wright, in particular, brings a stoic reserve to Roz, the more hesitant of the two, while Watts imbues Lil with a freer, more chaotic energy. Their chemistry is the anchor; their friendship feels genuine, making the shared secret a bond that strengthens their relationship rather than destroying it. Adore is a rare film that centers the sexuality of women in their 40s and 50s without framing them as "cougars" in the comedic sense. It treats their desire with seriousness and respect. However, it also highlights the tragedy of aging.
Conversely, the film offers a twist on the Oedipus complex. The sons are not competing for their mothers; they are competing for the "other mother." This displacement allows for a romantic dynamic that bypasses the immediate incest taboo of the mother-son bond, while retaining the intense intimacy and inherent power imbalance of that dynamic. It creates a closed loop of love where no one enters and no one leaves, creating a "four-way marriage" that is both suffocating and secure. The film rests entirely on the shoulders of its leads. Naomi Watts (Lil) and Robin Wright (Roz) deliver performances that are fearless, not because of the nudity involved, but because of the emotional vulnerability required to make the premise believable.
When a crisis strikes—a tragedy involving a surfing accident—the fragility of their arrangement is exposed. The film uses this moment to snap the audience out of the "golden hour" daze. It forces the characters to confront the reality that their perfect loop is actually a trap. The sons eventually marry women their own age, and the older women must watch their dynasty potentially dissolve.
The decision to sleep with each other's sons is not born out of a predatory instinct, but rather a desperate attempt to hold onto their own youth. The sons—Ian and Tom—are younger, male versions of the women they love most. By possessing the sons, the women are subconsciously attempting to bridge the gap between their fading youth and their current maturity.